Hopefully Tredici Bacci’s listeners understand the inherent joke underlying a song about the ’70s written by someone who was born in 1991. Of course, I can’t seriously mourn an era that I mostly learned about from watching erotic films and talking to my parents’ friends. That said, most things that I love (in music, art, fashion and the aforementioned erotica) were made in the ’70s, and I wonder if I would have thrived had I been born back then. “In The 1970s” is more of a loving ode to what I admire about that decade, and as a compositional experiment, an attempt to write something that used my favorite “’70s-sounding” signifiers.
The right kick drum sound can make or break the energy of your song, and the way the rest of the instruments stand up in mixing. Here’s how to choose it.
The first chords of your song will set the emotional precedent that your lyrics should ultimately follow. Here’s a few suggestions for starting strong!
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Ellisa Sun cuts out her heart and leaves it on the stage — which is why she never wears white. Currently on her first national tour, Ellisa is showing she has what it takes to make it on her own. Just a guitar, a 30-foot RV, and an insatiable desire to perform. Raised in Los Angeles and (until recently) based in the San Francisco Bay Area, her sound is honest, heartfelt, and textured, combining elements of jazz, soul, and pop.
A lot of the time, the student has no particular goal beyond “do this assignment.” So then the critique needs to get creative. I like to ask: If this track is a film or game score, what’s happening in the scene? Students have a lot of implicit knowledge in this area from their own media consumption, so I get wonderfully specific and unexpected answers to this, i.e., “It’s a bar fight in a domed underwater city.” Then we can figure out, how could the track more strongly convey the feeling of a bar fight in a domed underwater city?
So now that we understand what mixing is, what mastering is, and how to make sure mixing is done to optimize the results from the mastering phase, we should also consider when mastering may or may not be necessary.
SongTown is a really unique community of songwriters that help inspire growth and deliver unparalleled support to their readers, members, and peers. If you’re a writer looking for constructive criticism and helpful tips, definitely check their blog and service and events out.
Producers will use this technique when they have a double chorus in their hands. If the second half of that double chorus will also be the final chorus, it can be a challenge to keep the energy at peak level. And, of course, nobody wants the final chorus to be one that loses its impact or gets boring near the end.
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Learn to improve your songwriting with these tips, stories, and resources to help you break out of a creative rut and start writing better music. For more help, check out Soundfly’s course, The New Songwriter’s Workshop.
Traditionally, many djembefola consider the djembe a living entity, comprised of three spirits: the spirit of the tree from which the wood was carved, the spirit of the animal that gave the drum its skin, and the spirit of the drum’s maker. This makes each drum completely unique — infused with the spirits of its creators. Drumheads are typically made from goatskin, but more rarely can be antelope, zebra, deer, or calf. So yeah, this instrument has some mythical qualities to it.
“Joseph was a terrific mentor who provided extremely useful feedback for each assignment. The course was excellent… Soundfly courses are perhaps the best set of music courses I’ve ever taken!
Inspiration may strike like lightning, but just about as frequently, so go out and find your own stories, ideas, characters, and narratives in these blogs!
“Thank U, Next”: The sustain of that dreamy electric piano in this chord loop solidifies the G♭ chord as a G♭M13 and the F chord is an F7(#9) secondary dominant (V/vi )! Then we have a regular B♭m before returning to the tonic — but not so fast! We haven’t really returned home, since it’s a D♭7, another secondary dominant (V/IV) that sends us back to G♭M13. These secondary dominants act like coal nuggets to fuel a perpetual motion chord-loop machine. Form-wise, you could also call the chorus extensions “post-choruses,” but I already used up my “P” for the pre-chorus sections, so I’ll just call these extensions “variations” and be done with it.